This webzine is online since August 2010 and is completely dedicated to Electronic Music (EM) identified as the Berlin School style and its derived. You will find interviews but mostly reviews of ambient, sequenced and symphonic EM with a glimpse on other related genres. You have questions or want your music to be reviewed? Please read the 123 FAQ section attentively. Bear in mind the main purpose of this Blog. So welcome in and I hope it will guide you into the wonderful world of EM.

jeudi 31 mai 2018

“Landscapes is a must-have item in any music library which leads us in an era where creativity was on top of everything in thi emerging era of EM”

1 Hymalaya 2:312 Symfonieën 5:403 Landscape 5:314 Electronics 3:385 La Corde D'Argent 9:136 Plage 4:417 Ritmo 3:458 Tides 5:41 (Bonus Tracks) 9 AGE in Concert 1 9:11 (Bonus Tracks) 10 AGE in Concert 2 7:26 (Bonus Tracks)Groove
| GR-248(CD 58:03) (Cosmic Rock Music)==================================== **Chronique en français plus bas**====================================AGE! The name vaguely says something to me to have seen it on a LP in a friend's home back in the 80's. There was among the records of Jean-Michel Jarre, Synergy, Earthstar and Space Art this thing called AGE. And the memory awoke when I heard the splendid cosmic melody of "Symfonieën". So it was “Landscapes” that we have listened to! Some 35 years later, Groove rekindles this old flame forgotten in the chessboard of time, allowing a whole new generation, even 2 or 3 it's according to, to discover how was built the EM of that time. No MIDI and a bank of rather rudimentary samplings, like cosmic noises. Synths, oscillators, sequencer, a vocoder and percussions! “Landscapes” was in the wake of these sound essays which shone among a public fond of musical adventures far more than conventional structures. And yet this duo, made up of Belgian musicians Emmanuel D'haeyere and Guy Vachaudez, had all the necessary elements to seduce an audience that was both close to Space and Jean-Michel Jarre.Could Vangelis be inspired by "Hymalaya" to lay the foundations of his album Antarctica? The question arises since the music of this opening title to “Landscapes”, especially those keyboards that float in the cold, is not really far from Antarctica Echoes. But whatever! "Hymalaya" radiates the dimension of its title with a sober procession, like an escalator, where sparkle frozen prisms. These prisms weave a floating melody, in perfect equinox with the ambient rhythm. I remember "Symfonieën". Of this carousel of glittering chords which goes in circles like this merry-go-round, where the wooden horses galloped each in turn. Magnetizing with its thousand imaginary reflections in my head, the melody is crystalline and was especially the cornerstone of the Face A, from the vinyl of the time. The title-track frees these perfumes of this period with a distant layer of voice which is swallowed by the lament of a synthesizer alone on an ice floe of the Sea of Tranquility. A sequencer plays a harmonic portion a little before the second minute, giving me this irresistible taste of re-hearing another classic of this era; French Skyline from the German group Earthstar. The melody, while the rhythm is still passive, will be propelled by thrusts of synth pads, giving so much movement for so little time. The more we listen and the more we like this title. "Electronics" is a title of sonic ambiences that comes with a din between our ears. At the time, we didn't go all the way. Face B was played right after "Landscape". However, it was one of the first dark ambient music tracks with good chthonian organ pads that were joined by a choir of ghosts wandering between two parallel universes and of its inexplicable noises. Face B started with "La Corde D'Argent". A more progressive title inspired by the gloomy structures of Thierry Fervant, that I discovered a few years later, and whose theatrical vision undoubtedly inspired Jean-Pierre Thanès, whom I discovered at the same time as Thierry Fervant, in his Lux Terrea. The synth is very seductive here and its harmonic loops weave a cosmic rhythmic pecked by keyboard riffs. A rhythmic pattern which become more catchy when the sequencer bites into the music in its 7th minute. At the time, the synthesizers wove more harmonies than today. So after the loops of "La Corde D'Argent", "Plage" follows with its sampling of hectic tides and a synthesized melody that is well supported by the motorik rhythm of the sequencer. The approach thus makes Kraftwerk, Autobhan era. A beautiful melody emerges from the collisions of the tides surfing the rough sea around the 3rd minute, weaving the 2nd musical itch of “Landscapes”. "Ritmo" is a good and lively, and quite commercial, electronic rock which is supported by percussions and keyboard riffs and where the synth is always dominant in its harmonic texture. This reissue of Groove includes 3 bonus tracks. "Tides" could not carve a place in the album. It's a title which offers a long ambiospheric introduction before hatching a structure of rhythm cut by keyboard riffs and by rapid and sequential sequencer keys, while the synth launches some feeble spectral lamentations. I understand the decision of the time! Subsequently, we are entitled to a real little masterpiece; a performance of AGE put on a cassette by KLEM in 1986. "AGE in Concert 1", or Listen to the Music, begins with a nice movement of the sequencer which ripples like the mechanism of a musical carousel for the elderly. Hyper melodious, the movement is covered with a voice on vocoder reciting Listen to the Music. Keyboard riffs, very Pink Floyd, foggy synth pads, a bass line and percussion accompany an authentic procession of cosmic rock where the synth is unleashed and releases fiery and thunderous solos, bringing "AGE in Concert 1" to an impressive pinnacle of emotion to make raise our hairs over our arms and our back spine, while vibrating this emotional membrane which tells us that we live a very special moment. Very intense, this title casts however a lot of shadow to "AGE in Concert 2" which is a good electronic rock very Düsseldorf School, for the jerky and motorized approach of the sequencer. The drums plow as well this path of electronic rhythm while the synth, more discreet, plants its riffs to accentuate the ferocity of an electronic movement as cold as this sensation that Emmanuel D'haeyere, Guy Vachaudez and Marc Vachaudez, on percussions, were Cyborgs.This first AGE album is a must-have item in your music library, as long as you love cosmic rock from the 70's-80's. Re-hearing it after nearly 30 years gave me an enormous sense of pleasure and a taste to hear again the old classics from those same years. An excellent initiative from Groove, which expands its catalog with reissues of vinyl albums lost in time. And I have nothing against, because like many of you, I discovered the delights of the EM on the late and that there are still many treasures missing in my records collection! And this reissue of “Landscapes” has just landed on one of my tablets.Sylvain Lupari (May 31th, 2018) **** ½*synth&sequences.comAvailable at GrooveShop===============================================================================

dimanche 27 mai 2018

“Mostly on dancing modes, Berlin Shades offers structures of rhythms driven by a plethora of percussive elements and sequences fill of sparkling and lighting tones”

1 Blooming Minds 3:232 Signs of Attraction 12:223 eMotion 5:364 Are Protons Stable? 7:485 Berlin Shades 5:346 Electric Echo 4:557 Soundtrails 5:45Alba Ecstasy Music(DDL 45:24)(Mix of New Berlin School, E-Rock & EDM)==================================== **Chronique en français plus bas**====================================If Bergenon had left me a little on my appetite, “Berlin Shades” loads my ears fully with its 45 minutes of electronic rhythm which flirts with a kind of EDM strung in the nuances of a Berliner model of EM. Apart from the staging of "Signs of Attraction", the music of this album, offered only for download, offers structures of rhythms driven by a plethora of percussive elements and sequences with tones as sparkling as these bubbles of fizzy water which bubble in our nostrils. And yep, this is another nice album of Alba Ecstasy who is regular like this friend that we always like to see again and hear...Short but very catchy, "Blooming Minds" is an electronic anthem energized by an avalanche of percussions in mode; crush my bones and make me float. Drums and percussive effects fuel a sonic fauna which makes overflow the capacity of my ears to assimilate all these strikes that decorate a structure whose life is related to a superabundance of industrial, and even organic, elements of percussions. The synth launches a very melodic idea, kind of Jean-Michel Jarre period Revolutions, which hooks as much the eardrums that this spasmodic rhythm sets fire to our feet. Too short not to like and not long enough to snub this approach of Electronic Rock & Dance! "Signs of Attraction" is in the tone of the good New Berlin School flavored with a little of madness. After an ambient introduction charged with melancholic sighs, the synth is as beautiful as it is morose here, the sequencer activates a structure that waddles from one ear to the other. A bass pulsation gets in the movement a few seconds later, giving a depth field that befits the songs of a synth more and more attractive. A movement of bass sequences harpoons this structure a little before the 5th minute, initiating a lively and fluid rhythm, in spite of its spasms, with a synth just as dynamic and which follows the rhythm with a harmonic spirit. Some good New Berlin School, with a synth in mode; fright me at night in the moods of Klaus Schulze's 85-90 years or closer to our era; Remy. "Signs of Attraction" depicts here the interconnections and symbioses between different structures of parallel rhythms and confluent in this album. "eMotion" is a ball of energy that glitters on the spot and sparkle of highly electronic tones on a sequencer from which the nervous keys are jumping in jerks in a sound magma filled with unruly sequences and felted and/or gassed percussion effects.Some of these percussive effects cross the silence to join "Are Protons Stable?" which is a more complex energy ball and definitely more on the edge of implosion than "eMotion". Stationary and magnetizing, the rhythm is nevertheless lively and hyper jerky with sequences that form lines of spasmodic rodeos. A little like these lines of static balls, the sequences remain trapped and sparkle like dozens of bubbles bursting in a tube too narrow, spilling their rages of freedom in electronic percussions fed with green wood. The title-track also exploits a lively approach. The keys of a sequencing line leap briskly, like a horde of daredevils on jumping sticks hopping in a corridor too small, too narrow and undulating on a long course. A line of bass pulsations spits out a swarm of resonances which weaves paranoid chants and spread their vampiric shadows over this rhythm typed of vivid and incisive strikes. Unstable Up-tempo? It looks like this like it can also look like these discos of the future such as put in images by the people of George Lucas in the Star Wars saga. "Electric Echo" is in IDM mode with another futuristic psychedelic approach. The melody is good and quite catchy while the hopping rhythm is forged on organic sequences and other more conventional ones, which are never on the same beat, while the drums are still frozen in an eclectic tonal pond which tells me that Mihail Adrian Simion has done a very critical research work for these percussions highly stylized, one must not forget the sequences too, for this album. Voice effects hum on this title and are gurgling on "Soundtrails", a Techno for Zombies, smarter and less amorphous, which flirts with Break-Dance. The rhythm is heavy and hammered by good percussion while the synth launches ear-catching solos which spin and flit in a decor of percussion which fill my ears with a questioning charm...How he continues to did that?Alba Ecstasy's music has become my guilty pleasure. Month after month, this Romanian artist offers its latest finds, he is an engineer in computer development for music, in albums where always drag 1 to 3 small jewels. And sometimes more ... like here! I spent 45 very good minutes where my predatory ears of sound devoured a panoply of rhythms as seductive than audacious and very catchy. EDM and Berlin School! What could be better?Sylvain Lupari (May 25th, 2018) *****synth&sequences.comAvailable on Alba Ecstasy's Bandcamp

vendredi 25 mai 2018

“Sequenced Thoughts is a bombshell of emotions and of reminiscences on the art of the Berlin School and its evolutions through the ages”

1 Sequenced Thoughts Part 1 18:432 Sequenced Thoughts Part 2 21:353 Sequenced Thoughts Part 3 16:524 Sequenced Thoughts Part 4 15:29Spheric Music | SMCD 8101(CD 72:40)(Berlin School)==================================== **Chronique en français plus bas**====================================The Berlin School style EM will lose a great collaborator with the breakout of Vanderson towards the territories of Electronic Dance Music. The Polish synthesist has been tergiversating for at least four years regarding his musical orientation, reaffirming his desire to continue in the footsteps of his album Abyss and his latest album Beyond Time Structure, making of “Sequenced Thoughts” his testament to the Berlin School. And he doesn't do it alone! Accompanied by Lambert Ringlage on sequencer, he signs one of his best albums where solos scroll like tails of multicolored kites in azure sky and where the music is a little masterpiece and an authentic overview of the evolution of the genre since the 70's. Benefiting from a production and a mixing without spots which fill us the ears at satiety, this last opus of Vanderson consists of 4 very beautiful parts which subdue and astonish with this fascinating complicity between simplicity and complexity.The blurry introduction of "Sequenced Thoughts Part 1" fills our ears with tones that only EM can put into images. Are they some kind of water lapping? Felted explosions? Whispers of a cave's walls? It doesn't matter! There is of everything here for a fertile imagination. A synth launches harmonies in the form of solos that sneak like a sonic snake over this stave of ambient noises. A sequencer activates its keys after the door of 3 minutes. Waddling vigorously, it structures a rhythm in stereo which is harpooned by a line of bass sequences and its contrasting oscillations. Jingles of percussion? Why not! And of course, percussions. All these elements combine for an ear-catching rhythm where whistle no less catchy harmonies from a synth in mode creativity. The lines of harmonies succeed each other with nuances in their aerial pirouettes while behind this scenery, layers of gas very TD add to a soundscape in constant movement. The sequences bring nuances to this structure of rhythm which hiccoughs now of spasms, whereas the atmospheres add effects which oversize an already very rich musical scenography. Even the synth adds nuanced touches in its drifting harmonies as fictional elements squeak in a motley sky unique to the tonal creativity of EM. Gradually, the spasmodic restructuring of "Sequenced Thoughts Part 1" arrives at this ambiospheric stage so dear to this model in the secrets of its 10th minute. A little respite, not even meditative, which invigorates a structure already near its climax with a thick layer of sonic additives where solos guide the pace with a presence as harmonic as rhythmic. Some big Berlin School from Spheric here!"Sequenced Thoughts Part 2" follows the same parameters with a spheroidal rhythmic structure that goes back and forth like the pace of a cosmic cha-cha whose uncertain steps are conducive to a synth and its thousand sonic artifices. The rhythm is always in evolutionary mode with a proactive sequencer which inserts its legion of hopping and dancing keys in a constraint-free structure, thus allowing the synth to modify the character of its songs and solos. If the approach is more ethereal than in "Sequenced Thoughts Part 1", the explosion point, which is around the 13 minutes, has nothing to envy to the first part of this album. A loud raucous roar leads our ears to "Sequenced Thoughts Part 3". The added layers deepen a dark approach which flirts with the chthonian ambiances so dear to the retro Berlin School. A pool of tones and of elements of ambience awaits our ears a few 140 seconds later, giving the start to a dizzying structure and of which the influences of Chris Franke's sequencing style can not be dissociated from a breathtaking pattern of sequences which blows my mind. The first part of "Sequenced Thoughts Part 3" exceeds my expectations. In fact, it's one of the most beautiful movements that Lambert and Vanderson, together or separately, have built to date. The synths are more discreet here, leaving all the nobility to these repetitive Paddle Ball strikes which end a race of sequences in some gas and felted percussion effects. We are around the 11th minute and a refueling point of ambiances is needed before the 3rd party goes into this EDM approach in this style of Vanderson or even Klaus Schulze. Another great track! Another great track! It must take something very strong to succeed it, and "Sequenced Thoughts Part 4" does the work. Born from waters, the music rises with a little something that questions our memories. That's it! The fog layers are very Klaus Schulze. The effects and the airs from the synths which follow are just as much. Exceeding 3 minutes, these atmospheres charm with songs of astral whales trapped in layers of fog saturated of drizzle. And a nice sequence of ambient rhythm emerges after these 3 minutes. Vanderson and Lambert go there for a Schulze painting to end the final visions of the Polish synthesist with regard to the Berlin School. Very mesmerizing, the movement is total Schulze with a very Moondawn sequencer which climbs its 10 minutes through layers full of whispers and of delicate harmonic flutes. The added percussion gives velocity which excites our senses and the moods. It's in a magical electronic decor that this last part of “Sequenced Thoughts” evolves. And, regular like a clock, the pace takes a new step with a little more power and speed while the moods follow the pace without wandering. Between Moondawn and In Blue, for the more contemporary aspect, "Sequenced Thoughts Part 4" makes us regret Vanderson's decision to focus on EDM from now on.On 4 parts well distributed over its 73 minutes, “Sequenced Thoughts” is a bombshell of emotions and of reminiscences on the art of the Berlin School and its evolutions through the ages. This is a tour de force that Vanderson and Lambert Ringlage offer to our ears. And hopefully this tandem will come back once in a while to give us such other beautiful emotions. If not, it's the heart a little sad and already nostalgic that I tell you that this “Sequenced Thoughts” is delicious, dreamlike and highly inspired from point A to point Z. Hat to both of you guys for this album which should defy time!Sylvain Lupari (May 22nd, 2018)*****synth&sequences.comAvailable at Spheric as well as at CD Baby

mercredi 23 mai 2018

“Rich and creative in all aspect, this is a travel diary into sounds and tones”

1 Dreaming Helsinki Esplanadi (Walking a Beautiful World) 6:582 Missing Viejo 7:13 3 Jomo Jet Lag 1:144 Bad Ass Nairobi Land Rover 6:355 Rain Falls Down Like an Ocean in the Sky 8:016 Gift Hill Respite 1:007 Takeshita Street vs. the Jeepney 6:418 Mercado San Telmo 4:319 Spirits Between Bourbon and Royal 5:0110 Hypnotica Muríca 10:2211 Last Day Song (World Walking Again) 5:1012 Rain Falls Down Like an Ocean in the Sky (Radio Edit) 7:04Subsequent Records|SR008-02(CD 69:44)(Electronic Folk)====================================**Chronique en français plus bas**====================================With time, I eventually became a true fan of Sensitive Chaos. Nevertheless, this Jim Combs' project is at light years of the Berlin School model, even if it's essentially built around synthesizers and beat-boxes. Mixed adequately to more conventional instruments, such as guitars and bass, and to acoustic instruments such as trumpet, harmonica, saxophone and violin, this electronic music reaches another level which becomes even more surprising when the targeted styles go from Jazz to Folk with a touch of American Southwest's spirit. In fact, it's the very eclectic side of the Pacific School model but with a more cheerful vision and where some essences of Robert Rich and Forrest Fang drag melancholy and creativity beyond what one could imagine. “Walking a Beautiful World” is a 9th album and especially a diary travel in sounds and tones that Jim Combs made around the globe these last years. Inspired by meetings with people of Finland and Europe, as well as from South America, from Africa, Asia and finally from his home in the region of Atlanta, the sound troubadour with thousand ideas returns with an album as surprising as his long journey. And his immense bunch of guest artists gives as many colors as emotivism to a superb immensely musical album.This tone so crystalline of Sensitive Chaos slits the silence with hesitating arpeggios which connect to another keyboard and to a suspended rivulet of electronic arpeggios which glitters adrift. The electronic envelope spreads its influence made of charms and surprises to percussions of which the acoustic gallops run to support the Chinese harmonies of Josie Quick's violin. Light and lively, "Dreaming Helsinki Esplanadi (Walking a Beautiful World)" proposes the work of three synthesists (Jim Combs, Tony Gerber and Otso Pakarinen) who court, by presenting miscellaneous tones of wind instruments, a violin which knows skillfully how to measure its emotions. "Missing Viejo" is a first crush here with a rhythm structured well on a good work of percussions. The electronic and acoustic ingredients melt themselves in a very musical sound mass where Dave Coustan's trumpet does very Mark Isham. We stamp of the foot, the bass is also very good, and we enjoy this meshing of electronic and acoustic instruments which get lost in our imagination. Is it a synth? A saxophone? A violin? All living with a symbiosis of the most melodious. The electronic effects of "Jomo Jet Lag" throw themselves into "Bad Ass Nairobi Land Rover" and whose ambiospherical road goes slowly towards a fascinating and very bucolic Southern Rock. Each album of Sensitive Chaos possesses its pearl. "Rain Falls Down Like an Ocean in the Sky" is the one of “Walking a Beautiful World”. A wonderful ballad in a musical texture full of new developments, at the level emotion, where all the instruments converge on an ear-catchy, because of its intensity, electronic Folk."Gift Hill Respite" proposes a very ethereal introduction to "Takeshita Street vs. the Jeepney". And running away from a sound romance gone up on a bed of carillons, this title proposes a spasmodic structure forged with rhythmic arpeggios and with percussions sometimes sober and sometimes livened up by a desire to blow up a rhythmic proposal which increases its depth with Ryan Taylor's good bass. His guitar also scatters its musing, more present than the discreet violin, on this tight meshing which flows like a rivulet of clanic trance. A convincing and very catchy surprise! "Mercado San Telmo" is another cheerful hymn where a street of New Orleans gets embellish of festive music. The violin and Brian Good's soprano saxophone have a great time on a purely electronic structure where the chords and the riffs of synth play with our sense of hearing like the uncertain steps of a cat a little bit drunk. "Spirits Between Bourbon and Royal" is a surprising title which reminds us in of a good Beck. The mixture of Funk and Folk, with riffs of rather cosmic guitar, shines here with a sound aestheticism as complex as very catchy. The bass is more vicious than the collection of jerky riffs of the guitar. "Hypnotica Muríca" is a strange title, a little like a music without identity, which could be as well produced by Beck or by Brian Eno in Nerve Net. The music is rich and the tonal aestheticism make a good menu for my Tribe Tower. Funk and Southern Rock, with an approach of collective joy, the rhythm skips with the cawings of a bass and a series of very acid riffs which forge a jerky and bipolar tempo. Voices of a man and of a girl decorate a panorama very near a psychedelic without borders with sound effects which abound around the violin which crumbles some American patriotic airs and a very rock guitar of the former 70's. On a structure of circular rhythm which hops up and down with hundreds of crazy steps, and which gets back constantly, "Last Day Song (World Walking Again)" offers a melodious ritornello with a very creative synth at the level of its choice of flute. It's Sensitive Chaos at its purest level with an approach of minimalist tornado which swallows all the sounds on its passage. When I told you that "Rain Falls Down Like an Ocean in the Sky" is the pearl of this album …The gang of Jim Combs even made a radio edit version. A way as another one to hear this wonderful title twice rather than one and which is taken from a “Walking a Beautiful World” rich and creative at every level. A top notch album my dear Jim!Sylvain Lupari (May 21st,2018) ****¼*synth&sequences.comYou will find this album on Sensitive Chaos web shop

lundi 21 mai 2018

“A nice but purely ambient tale, The Legend bears the seal of two veterans in the field who kept their unique signature that characterized the intensity of their floating visions”

1 The Oppression of the Giant 20:462 Throwing the Hand 17:213 The River Filled with Blood 14:564 Out of the Dark Ages 17:03SynGate
Luna|DT01(CD-r/DDL 70:08)(Ambient Music==================================== **Chronique en français plus bas**====================================Divided by Two is a musical project led jointly by Gabriele Quirici, of Perceptual Defence and Danny Budts from Syndromeda. These 2 artists collaborate together since Fear of the Emptiness Space, which is appeared in the cd trays in 2014. Three other albums followed, among which Live at Cosmic Nights 2017 which had showed already the next stage of the duet Quirici/Budts. And this next phase is Divided by Two, a project of ambient music and music of ambiences with a strong connotation for essences of cosmos, even if this first album, “The Legend”, is inspired by an Earth legend. Either be the mythical story of the Roman soldier Silvius Brabo who killed the Giant, cutter of hands, Druon Antigoo and threw his hand in the Scheldt.After some first minutes rather quiet, synth waves revolve between our ears with this state of astral weightlessness. Lapping of water and electronic noises decorate this slow sound impulse which is braided tightened enough by floating multi-lines which seem to an obstacle to felted explosions. Little by little the dimension of the tones puts down its blooming of sounds with lines painted of contrasting colors which weld their wings and split them some flights farther. The sound panorama of "The Oppression of the Giant" is dark and constituted by the floating of multi-layers of which the esoteric chants are drifting in the density of a sound texture which exploits without embarrassment the most intriguing colors of the synths. It's hefty and this sensation to roam in the plains of the galaxies dressed in cosmonaut's combination is more omnipresent than those of crossing a river the hands cut, according to this legend that the giant used to cut the hands of those who were incapable to pay the price of the crossing. "Throwing the Hand" is more linear and plays into an endless corridor where the breezes and the whistles of the winds accentuate even more the sibilant and oppressive aspect of "The Oppression of the Giant". The progression and the intensity of "The River Filled with Blood" is going quite softly and especially in length. The synth breezes are warmer and if we soak our imagination in a film vision, we can see this river of blood in the movie Shake Hands with the Devil and/or other movies of the same genre. It's quiet, more ethereal and clearly less cosmic. In fact, these last two titles are very contrasting compared to "The Oppression of the Giant" and "Out of the Dark Ages" which are two very intense music tales. And "Out of the Dark Ages" is even more striking, almost cataclysmic with these rustles of metal sheets and these layers of more or less seraphic voices, where all the electronic effects adorn a panorama always well fed and to the antipodes of a cosmic approach as a mythological one.In reality, Divided by Two is not really too much far from the four albums of the duet Syndromeda/ Perceptual Defence. Thus, the fan and the listener are not disoriented. Except that here, there are no sequences, nor rhythms propelled by implosions of lines strongly opposed which distanced this music of that purely ambient of “The Legend”. But on the other hand Quirici/Budts kept this intensity that characterized their music, making of her a unique signature in the spheres of music for ambiences, which implants images in our spirit, and ambient music, which makes us travel over the plains of Antwerpen.Sylvain Lupari (May 20th, 2018) ***½**synth&sequences.comAvailable on SynGate's Bandcamp

Members of this Blog

Qui suis-je

Bonjour!
My name is Sylvain Lupari from Joliette in Quebec (Canada). I’m known as Phaedream all over the Internet since the beginning of 2000 where I started to write reviews. In 2005, I joined the French Webzine Guts of Darkness and on August 2010 I created a Blog, Synth & Sequences, which has reached the point of 1 000,000 visitors on February 2017 where I also wrote my 1354th review. In French and in English, I wrote more than reviews of EM albums.
This Blog is a huge success and reference about the music which sets my mind free over the years. Too many chronicles, so I have to split this Blog in several sections. Robert Schroeder is the first to welcome my thoughts on Webpress.
So, welcome to this part of my Blog Synth&Sequences which is devoted to the music, the tones and sounds of Aachen’s own Robert Schroeder.
Here you will find informations about his career and discography and latest news as well as deep reviews about his music, his albums.
My only wish is to guide you through his impressive career and may I suggest to visit regularly my Blog Synth & Sequences for more updates on EM.